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Jazz chord substitution

Jazz chord substitution
chord substitution concepts Harmonic substitution is simply about replacing one chordal sound with another, or as I need to think of it, as one color for another. Whether it is in the written harmony from sheet music or the harmony implied by the melody, the theoretical concepts behind chord substitution becomes "search" tools for the learner. The coolness here is that we can create different shades of color, allowing for a variety of ways to blend the melody and harmony of a song together. Theory / practice. Stylistically, substituting harmonic elements is not something that folk players or the rockers tend to do, although changing the color of chords in these two styles is not uncommon. So, where do the cool chord substitutions come from? So why is substituting one chord for another potentially important for the creative musician? Chord type. Tonic chord substitutions. Major tonality. Sense how the first inversion has a softer tonic quality than the root position voicing? Cool? Related:  M THEORYGuitar Programs & Guides

Harmony Explained: Progress Towards A Scientific Theory of Music The Major Scale, The Standard Chord Dictionary, and The Difference of Feeling Between The Major and Minor Triads Explained from the First Principles of Physics and Computation; The Theory of Helmholtz Shown To Be Incomplete and The Theory of Terhardt and Some Others Considered Daniel Shawcross Wilkerson Begun 23 September 2006; this version 19 February 2012. Abstract and Introduction Most music theory books are like medieval medical textbooks: they contain unjustified superstition, non-reasoning, and funny symbols glorified by Latin phrases. How does music, in particular harmony, actually work, presented as a real, scientific theory of music? In particular we derive from first principles of Physics and Computation the following three fundamental phenomena of music: the Major Scale, the Standard Chord Dictionary, and the difference in feeling between the Major and Minor Triads. Table of Contents People push different keys on a piano; some combinations and patterns sound good; others do not.

Jazz Progressions Jazz Progressions are simply common chord progressions in jazz music. One of the most common progressions is the ii-V-I progression. The ii-V-I sounds at its best when you use seventh chords and their expanded voicings. As you already know from past lessons, the ii chord is a minor chord, the V chord is a dominant chord, and the I chord is a major chord. So the most basic Jazz progression is the ii minor 7 - V dominant 7 - I major 7. In the key of C, this progression is Dm7-G7-Cmaj7. Below, you will find a few examples to experiment with in addition to a set of chord diagrams showing various ii-V-I progressions.

AFFECTIVE KEY CHARACTERISTICS Affective Musical Key Characteristics The association of musical keys with specific emotional or qualitative characteristic was fairly common prior to the 20th century. It was part of the shared cultural experience of those who made, performed and listened to music. When Mozart or Beethoven or Schubert wrote a piece in a Ab major, for example, they were well aware of this was the 'key of the grave' and knew that many in their audiences were as well. We lose a part of the meaning of their music if we are ignorant of their affective choices. Although these characteristics were, of course, subjective, it was possible to conceive of each key as unique because each key actually sounded distinct within unequal temperaments. C Major Completely Pure. C Minor Declaration of love and at the same time the lament of unhappy love. D♭ Major A leering key, degenerating into grief and rapture. D Major The key of triumph, of Hallejuahs, of war-cries, of victory-rejoicing. A♭ Major Key of the grave.

Harmonic Progressions | Learning and Loving Music Theory Kelvin, You actually caught a mistake on the roman numerals! Thanks, I’ll have to fix that. The first and last chords of the progression are not 7th chords. In the classical tradition, for the sake of stability, the first and last chords of a circle-of-fifths progression are usually triads, not 7th chords. Harmonic Sequences Part 2 In the jazz tradition all chords usually are 7ths, in which case the progression will start and end with 7th chords. Thanks again for your interest and input.

6 Apps & Websites to Get Your Ear in Shape If you followed along with us a few weeks ago, you know how much interval ear training can help you as a musician and how to get started with training itself. If you haven't read it, head on over to Boot Camp for Your Ear. This time, we're going to look at a bunch of applications and websites that will help you with regular ear training sessions. Most of these go beyond intervals, of course. This article was previously published on the AudioJungle blog, which has moved on to a new format in 2010. 1. Ricci Adam's is a well-respected site that offers loads of great lessons and trainers. It has an Interval Trainer and an Interval Ear Trainer in the menu, so be sure to pick the one with "Ear" in it—unless you want to learn to see intervals on sheet music. Check it out here. 2. Auralia is pretty popular, especially among music educators. Auralia is available for Windows and Mac. 3. Auralia is available for Windows and Linux. 4. 5. Check it out here. 6. Check it out here.

Outline of basic music theory - Professional music theory: an outline of basic music theory. Preface and Chapter 1 of the Outline of basic music theory – by Oscar van Dillen ©2011-2014 The beginner’s learning book can be found at Basic elements of music theory. Overview of chapters: Chapter 1: Introduction Chapter 2: Sound and hearing Chapter 3: Musical notation Chapter 4: Basic building blocks of melody and harmony Chapter 5: Consonance and dissonance Chapter 6: Circle of fifths and transposition Chapter 7: Concerning rhythm, melody, harmony and form Chapter 8: Further study Preface This outline offers a concise and complete overview of basic music theory. In order to speed up consulting this online book, its chapters can as of now be found on separate pages; unfortunately the original one-page version exceeded acceptable download times, because of the length of the total materials presented. © Oscar van Dillen 2011-2014 Chapter 1: Introduction integrating hearing-reading-singing-writing

Free Music Theory Worksheets! - StumbleUpon Material on this page is free.NEW! you can now consult an index of terms used in these worksheets.Also explore a page of worksheet extras: Worksheet Answers, Test Templates and Flash Presentations. Here are some testimonials from music teachers about these workbook chapters: I have been using your fantastic music theory sheets and PDF downloads to teach high school piano theory to 28 students per class, all of whom are at different levels of study and accomplishment. I am excited about the way my students have received this material. Joyce T. Hi, I am a High School teacher in California and I found your Theory Website. Material on this page is free.NEW! Here are some testimonials from music teachers about these workbook chapters: I have been using your fantastic music theory sheets and PDF downloads to teach high school piano theory to 28 students per class, all of whom are at different levels of study and accomplishment. Joyce T.

Solfège Bas de Page Mon parcours en Solfège Au tout début de mon apprentissage, non seulement le manche de la guitare m'était inconnu, au niveau des notes, mais je ne connaissais rien non plus au solfège. Je vous invite à aller jeter un petit coup d'œil sur le blog de Stéphanie qui m'a beaucoup aidée dans mon apprentissage. (malheureusement Stéphanie nous a quitté suite à une longue et pénible maladie...) 01 -Il y a 7 notes :(retour index) DO - RE - MI - FA - SOL - LA - SI => notation latine C - D - E - F - G - A - B => notation anglo-saxonne. 02 -Une portée :(retour index) Une portée musicale est composée de 5 lignes et 4 interlignes, mais on peut y rajouter des lignes pour les notes aiguës (au dessus) et graves (en dessous), ces nouvelles lignes ne sont pas complètement dessinées, elles ne se placent que pour la note utilisée. on appelle anacrouse, la note ou groupe de notes précédant le premier temps d'une mesure. Nommée aussi clé de Do La ronde 4 temps La blanche 2 temps La noire 1 temps etc.... soit :

Paradigms of Tonal Chord Progression Paradigms of Tonal Chord Progression Robert Kelley Tonal Idioms The passing bass figures between I and I6 can also be used from I6 to I. Pre-Dominant chords can often be inverted and/or used as seventh chords (except bII6) Secondary dominants can be used before most Pre-Dominant chords (i.e. V7/IV IV V7/ii ii) and can appear in any inversion. Return to The Theory & Practice of Tonal Harmony Return to Pedagogical Resources Return to Robert Kelley's Music Website © 2002 Robert T.